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Gerard Genette and the Categorization of Textual Transcendence

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ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 6 No 5 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy September 2015 Gerard Genette and the Categorization of Textual Transcendence Sayyed Ali Mirenayat PhD candidate in English Literature, Faculty of Modern Languages and Communication, Universiti Putra Malaysia Elaheh Soofastaei PhD candidate in English Literature, Faculty of Modern Languages and Communication, Universiti Putra Malaysia [email protected], [email protected] Doi:10.5901/mjss.2015.v6n5p533 Abstract A text relation with other texts has been a significant subject, which attracted the consideration of researchers, such as Julia Kristeva, Roland Barthes and etc. within Structuralism and Post-Structuralism. Gerard Genette, a French literary theorist, is one of the researchers who define “transtextuality” as a theory which is used when we are not sure about the interpretation of one text that we are reading. His theory describes the different methods in later text which motivates us to read an earlier one. This is the important reason that I have decided to look at his different methods. Genette broadens the study area of Julia Kristeva about “intertextuality” as a theory pointing to relation between various texts. He defines five categories of transtextuality, including intertextuality, paratextuality, metatextuality, architextuality, and hypertextuality, which this paper will explore them as Genette’s textual transcendence. Keywords: Transtextuality, Intertextuality, Paratextuality, Metatextuality, Architextuality, Hypertextuality, Hypotextuality 1. Introduction A text is … a multidimensional space in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations … The writer can only imitate a gesture that is always anterior, never original. His only power is to mix writings, to counter the ones with the others, in such a way as never to rest on any one of them. (Barthes, 1997) A literary work is created of “a text, defined (very minimally) as a more or less long sequence of verbal statements that are more or less long endowed with significance”. But it is “rarely presented in an unadorned state, unreinforced and unaccompanied by a certain number of verbal or other productions” (Gerard, 1997b:1). In the 1960s, it was Julia Kristeva who used "Intertextuality" for the first time, pointing to any relation between different texts. A theory of the text that expands the identity of the text to include its origins in and its uses of texts of the past is Intertextuality. No text is self-born and every text of the present is an inter-text with something happening between it and a text of the past. After that, Gerard Genette widened the study area of Kristeva, and called relation between a text with other texts or different from its own as "transtextuality" or textual transcendence and he subdivided this type into five categories where intertextuality was only one type. As for transtextuality, Genette says that “all that sets the text in a relationship, whether obvious or concealed, with other texts” which it “covers all aspects of a particular text” (1992, pp 83-84). He examines the relation between a text with other texts broader and more systemic than Julia Kristeva and Roland Barthes. Genette's studies involve territory of structuralism, post-structuralism and semiotics too, and this permits him to examine intertextual relationships with all its variables. He calls the collection of these relations, "transtextuality". Transtextuality is how to communicate a text with other texts. His transtextuality continued with his book Palimpsestes (1982). Other categories were called "architextuality", "paratextuality", "metatextuality" and "hypertextuality", each with their own subcategories. Of all these categories, Intertextuality and Hypertextuality study the relationship between two artistic texts, whereas Transtextuality is the study of the relation of a text to the related hypertext. On the other hand, Paratextuality probes into the relation of a text to other connected or separated texts. 533 ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 6 No 5 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy September 2015 2. What Is Intertextuality? Intertextuality was refined by Genette in 1997 with a term, namely transtextuality, by Graham Allen as “intertextuality from the viewpoint of structural poetics – the theory of reading that investigates, rather than particular works, systems within which texts are constructed, with or without readers’ or writers’ awareness” (Morris, 2007). Intertextuality topics had great effect on Tel Quel Thought which Philippe Sollers, Jacques Derrida, Roland Barthes and Julia Kristeva were members of it. In their sight, intertextuality is one of the aspects of shaping the text. Elements that often cannot identify their sign clearly and it doesn’t need to identify them. Intertextuality causes dynamism and poly-tonic and no text is without intertextuality. Barthes clearly declares it and says that every text is intertextual. According to Genette, intertextuality involves all relations of a text with other texts. Intertextuality in Genette's idea is different from Kristeva's idea, because Genette's intertextuality has more limited dimensions. Also, intertextuality is the relationship between two texts according to the co-presence. In other words, if part of a text (text 1) attends in the other text (text 2), the relationship between them is intertextual. Genette uses the term "intertextuality" for a rich mosaic of echoes of, quotations from, allusion to and parallelisms with other texts in a text such as The Waste Land by T.S Eliot. Intertextuality includes quotation, plagiarism, and allusion. Genette divides intertextuality into three large categories: implicit or explicit; covert or overt; hidden or open. For the first one, explicit intertextuality expresses overt presence of a text in the other text. In clearer word, in this kind of intertextuality, second text's author doesn’t intend to hide his/her text's reference (first text). So we can observe the presence of other text in it. From this perspective, quotation is considered as intertextuality. For the second one, covert intertextuality indicates the hidden presence of a text in another text. In other words, this kind of intertextuality tries to hide its intertextuality reference and this secrecy is not only because of literary necessities, but also it has extra literary reasons. Plagiarism is considered one of the most important implicit intertextuality. Plagiarism is use of another text without permission and mention of reference. And for the last one, sometimes the second text's author is not going to hide his/her intertextual and because of that, he/she uses signs that we can recognize intertextual and even its reference. But this act has never been done explicitly and it is sufficient to implicit allusions because of literary reasons. So implicit intertextuality announces its reference not alike explicit intertextuality and not tries to hide like implicit intertextuality. The most important forms of this intertextual are allusions, allegories and metaphors. Genette says: its less explicit form is allusion; it means that it should be to have high intelligence to understand the relationship between a text and another text that it returns some parts to it necessarily. 3. Paratextuality Para means “beside” and paratextuality is the relation between a text and its 'paratext' – that which surrounds the main body of the text - such as titles, headings, prefaces, acknowledgements, footnotes, illustrations, and etc. In Genette’s view, paratextuality comprises, Those liminal devices and conventions, both within the book (peritext) and outside it (epitext), that mediate the book to the reader: titles and subtitles, pseudonyms, forewords, dedications, epigraphs, prefaces, intertitles, notes, epilogues, and afterwords – all those framing elements that so engaged Sterne; but also the elements in the public and private history of the book, its “epitext,” … “public epitexts” as well as “private epitexts”. (1997b) To Genette, the paratext marks the components at the threshold of the text in order to direct the acceptance of a text by the readers. “The paratext performs various pragmatic functions which guide the readers to understand when the text was published, who published it, for what purpose, and how it should or should not be read.” He also “makes a distinction between paratexts, which are autographic; by the author, and allographic; by someone other than the editor, such as an editor or a publisher. The main function of the autographic or allographic preface is to encourage the reader to read the text, and to instruct the reader in how to read the text properly. With his account of paratextuality, Genette takes a different stance than the post-structuralists who dismissed the authorial intention. The structuralist version of intertextuality reasserts the importance of authorial intention” (Simandan, 31). Genette is “more fascinated by the fringes and borderlands between regimes that these explorations open up”. He claims that “paratext is especially rich in these regions of ambiguity. This the terrain of the paratext poses intriguing problems for any speech-act analysis, situated as it is between the first-order illocutionary domain of the public world and that of the second-order speech-act analysis, situated as it is between the first-order illocutionary
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